Nothing is a sociologically neglected terrain, comprising negatively defined phenomena, such as non--identification, non--participation and non--presence. Nevertheless, these symbolic social objects are created and managed through meaningful social interaction. Nothing is accomplished either by active commission (doing/being a non--something) or by passive omission (not--doing/not--being something). I explore these dichotomous forms through four dimensions of negative social space: non--identity, inactivity, absence and silence. Paradoxically, nothing is always productive of something: other symbolic objects come into being through the apprehension of phantoms, imaginaries, replacements and alternatives, which generate further constitutive meanings. A sociological analysis illuminates these processes, revealing how much nothing matters.

This article revisits the concept of the total institution (TI), critically assessing the extent to which it has changed from being repressively coercive to relatively voluntaristic. I propose two new concepts, the ‘Reinventive Institution’ (RI) and ‘performative regulation’, to take the debate forward. The model of the TI outlined in Goffman’s Asylums has been (mis-)interpreted as rendering its inmates powerless, but they also demonstrated agency through gestures of resistance. Conversely, RIs, which members elect to join for purposes of self-improvement, appear to celebrate the subject’s autonomy but suggest a unique form of social control based on mutual surveillance. This performative regulation is enacted through the interaction order, as members actively produce, negotiate and legitimate the exercise of power.

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Shyness has become an 'unhealthy' state of mind for individuals living in contemporary Western societies. Insofar as its behavioural 'symptoms' imply a failure to achieve certain cultural values, such as assertiveness, self-expression and loquacious vocality, shyness is increasingly defined as a problem for which people can, and should, be treated. This paper first critically discusses the idea that we are witnessing a new 'cultural epidemic' of shyness, as evidenced by increasing rates of diagnosis for Social Phobia, Social Anxiety Disorder and Avoidant Personality Disorder. It then examines three main dimensions of the medicalisation of shyness: biomedical and genetic approaches, the therapeutic interventions of cognitive-behaviour therapy and 'shyness clinics', and the disciplinary regimes imposed by self-help books and websites. Within a cultural climate of pervasive anxiety and privatised risk, the medicalisation of shyness suggests a powerful new way of defining and managing certain kinds of deviant identities, but we can also find some evidence of resistance to this approach.

This paper uses findings from research diaries to explore the use of practices of intimacy among asexual people. While much of the literature to date has focused on the supposedly transformative and political nature of uniquely asexual practices of intimacy, our findings suggest something different. Rather than seeking to transform the nature of intimate relationships, asexual people make pragmatic adjustments and engage in negotiations to achieve the forms of physical and emotional intimacy they seek. We discuss this in relation to three areas: friendships, sex as a practice of intimacy, and exclusion from intimacy. Our findings suggest the importance of not only considering the social context in which asexual people practice intimacy, but also how the practices in which they engage may be shared with non-asexual people.

This article examines the unspoken rules, routines, and rituals of the swimming pool, using ideas from negotiated order theory, Foucault, Goffman's dramaturgical theory, and symbolic interactionism. It identifies three sets of social norms: respect for personal space, respect for individuals' disciplinary regimes, and the desexualization of encounters. I show how these rules are (normally) followed or (occasionally) breached through various rituals, and examine the consequences for interaction order. The tale of “The Emperor's New Clothes” is used analogously to explain why actors cannot consciously attend to their precarious construction of reality, yet remain poised to defend it.